![]() However, in Decoy the colors and their representation are reunited once more, with each word being painted in the correct shade of pigment. "yellow" was executed in blue paint, and "white" was painted in red etc.). Traversing its way across the surface is a trail of colorful words, spelling out "red," "orange," "yellow," "green," "blue," and "violet." Johns first used the combination of words and colors in False Start in 1959, when he produced a dramatic canvas in which he broke the representative ties between the words and colors (i.e. Surrounding the central beer can are other printed images, their fixed images counterbalanced by gestural brushwork that envelops the surface, in the process disrupting the perceived integrity of the photographic image. Yet, closer consideration reveals that this is in fact a reproduction of a printed image of the can, as evidenced by the remnants of ghostly Ben-Day dots and the edit notes to an unseen assistant requesting a crop to the image and a reduction in its size. Surrounded by a field of bold black brushwork, Johns situates one of his most familiar motifs in the center of the composition: an image of the famous Ballantine beer cans featured in Painted Bronze (1960 Whitney Museum of American Art, New York). Measuring six feet in height, the surface of this large-scale canvas is consists of a multi-layered composition bringing together painterly gestures and printed images together with conceptual representations of forms and color. They held it in their collection for twenty-five years, from where it was acquired by the present owner over two decades ago, remaining in his collection ever since. Exhibited in major retrospectives of the artist’s work and cited in much of the literature, Decoy comes with exceptional provenance, having been acquired by unrivalled collectors, Victor and Sally Ganz in 1972. The present work is the largest of two paintings that are a continuation of the artist’s celebrated Decoy prints, widely regarded as among the visually rich and complex of his editioned works. Thus, reproductions of Johns’s bronze sculptures from 1960 are layered together with the gestural brushwork of his Maps (1960 onwards), and combined with his technical interest in image and imitation, the result is a work that speaks to many of the artists concerns. It presents themes and motifs which have been the subject of artist’s gaze for nearly two decades and subjects them to a fresh interrogation. 13 (illustrated in color).Ī seminal painting from 1971, Jasper Johns’s Decoy acts as a mini retrospective of the artist’s prodigious career up to this point, and a recapitulation of his ideas about representation and reproduction. New York, Whitney Museum of American Art, Jasper Johns: Mind/Mirror, September 2021-February 2022, pp. London, Royal Academy of Arts and Los Angeles, The Broad, Jasper Johns, September 2017-May 2018, pp. New York, The Museum of Modern Art, Jasper Johns: A Retrospective, October 1996-January 1997, p. New York, The Museum of Modern Art, Jasper Johns: A Print Retrospective, May-August 1986, p. 146 (illustrated in color, New York), no. New York, Whitney Museum of American Art Cologne, Museum Ludwig in der Kunsthalle Koln Paris, Musée National d'Art Moderne Tokyo, Seibu Museum of Art and San Francisco Museum of Modern Art, Jasper Johns, October 1977-December 1978, no. Hempstead, Emily Lowe Gallery at Hofstra University, Jasper Johns Decoy: The Print and the Painting, September-October 1972, n.p. New York, Whitney Museum of American Art, 1972 Annual Exhibition: Contemporary American Painting, January-March 1972, p. Bernstein, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 3, Painting, 1971-2014, New Haven and London, 2016, pp. cat., New York, The Museum of Modern Art, 2014, p. 22 and 88-111 (illustrated in color and installation view illustrated). FitzGerald, ed., A Life of Collecting: Victor and Sally Ganz, New York, 1997, pp. cat., New York, The Museum of Modern Art, 1996, pp. Jasper Johns: Writings, Sketchbook Notes, Interviews, exh. Elderfield, ed., American Art of the 1960s, New York, 1991, pp. Boudaille, Jasper Johns, New York, 1989, p. cat., London, Anthony d'Offay Gallery, 1989, p. ![]() cat., New York, Leo Castelli Gallery, 1987.ĭancers on a Plane: Cage, Cunningham, Johns, exh. Bernstein, Jasper Johns' Paintings and Sculptures, 1954-1974: "The Changing Focus of the Eye," Ann Arbor, 1985, pp. Francis, Jasper Johns, New York, 1984, pp. Hess, "Jasper Johns, Tell a Vision," New York Magazine, November 1977, pp. Herrmann, "Johns the Pessimist," Artforum 16, no.
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